...Neil Ramsey Although Frankenstein has long been read in relation to revolutionary politics, there has been little specific discussion of the themes of suffering and the trauma of war in the novel, concerns that were central to much of Mary Shelley’s writing. Taking inspiration from Ahmed Saadawi’s...

... of a nation, but within the innermost organs of its body. The English Civil Wars seem to have instigated a literary tradition marked by civil war s invasion of the creative imagination, yet that tradition continues through the century until, in Frankenstein, it shows how modern warfare invades not just...

... as well as an acute awareness of its costs. Moving squarely into the Romantic period, Neil Ramsey infuses the history and theory of the novel with bio politics in order to o˜er a fresh reading of Frankenstein (1818) and, more largely, a new interpretation of Shelley s profound concerns with war. As Ramsey...

... Charles Clerke’s life at sea. I read contemporary accounts of Clerke’s voyages and wondered if James King’s image of Clerke, in his narrative of Cook’s last voyage, served Mary Shelley as a prototype for Walton, the frame narrator-­navigator of Frankenstein, or for Victor Frankenstein himself, her...

...- ley’s Frankenstein (chapter 5), and John Stuart Mill’s Autobiography (chapter 6). The last chapter, “Mill Alone,” also echoes the first, for Yousef sees the Auto- biography as “at once a poignant transmission and striking indictment of the Lockean legacy” (9). Some sort of ambivalence marks her...

... he discovers in Wordsworth. In Mary Shelley’s Frankenstein (1818), emotional excess is rendered mon- strous and sympathy finds its limits. Having failed to carry on the intensely felt friendships and familial ties of his youth, Victor Frankenstein creates a being so hideous that it repels...

....” The homosexual is suppressed by having filth heaped upon him, or by being reconstructed as a monster. Thus Victor Frankenstein’s abhorrence of his creature is a product of the homosexual’s internalized self- loathing. The women in Victor’s life are “sacrificed to a male same-sex fantasy because...

... chapter on moral “deformity” or “monstrosity,” an issue Chandler pursues through Shaftesbury and Smith to Frankenstein and its later cinematic adaptations. Concluding the book as a whole, the two chapters of part 3, “Against Sentiment,” consider the subject, as it were, from an external point...

...) in accordance with human aspirations. The flows of “weather, of water, of magnetism, . . . of living populations” (201) that Mitchell describes accord closely with Miranda Burgess’s sense of Frankenstein as typical of the period’s free flows of anxiety, which themselves are linked to “mediation...

... for an apocryphal remark. John Bender, in “The Novel as Modern Myth,” adopts an entirely different approach. Rather than work outwards as Keymer does, Bender operates at the level of abstract meta-­narrative as he makes his case for why Robinson Crusoe, Frankenstein, and Dracula have transcended...

... Resemblances: Intertextual Dialogue Between Father and Daughter Novelists in Godwin’s St. Leon and Shelley’s Frankenstein,” University of Mississippi Studies in English 11–12 (1993–95): 305; and Ellen Levy, “The Philosophical Gothic of St. Leon,” Caliban 33 (1996): 51–62. 10.  See, for example, Gary...

... Camilla,” Modern Philology Œ – the quotation is from n. See also Julie Park, “The Life of Burney’s Clockwork Characters,” from The New Science and Women’s Literary Discourse: Pre guring Frankenstein, ed. Judy A. Hayden (New York: Palgrave Macmillan, and Claudia L. Johnson, Equivocal Beings...

... Héloïse (1761) epitomize this impulse to displace mortality into art, the decaying nuns filling the dungeons in Lewis’s The Monk, like Victor Frankenstein visiting the charnel house, represent an opposite strategy — that of confronting, and thus acknowledging, what modern culture has come to fear...

... Frankenstein is prominently displayed on a dentist’s bookshelf. 41. The Politics of Sensibility: Place, Gender, and Commerce in the Sentimental Novel (Cambridge: Cambridge Univ., 1996), 74–77. In The Adventures of an Ostrich Feather of Quality (London, 1812), the second wife of a lord is the sister...